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THE P 



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Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
i-EWis Tubes. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter,, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn, 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumo.n't. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody tmderstands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and 'novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



On the Greenboro Nine 



An Entertainment in Three Acts 



By 
WARD MACAULEY 

Author of'* Graduation Day at Woodhill School,^* 
" Laxy Bob Parki7JSy' etc. 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1914 






Copyright 1914 by The Penn Publishing Company 



On the Greenboro Nine 



X o /«/■ 



WI 23 1914 

©cm 38593 



On the Greenboro Nine 



CAST OF CHARACTERS 



4 



Oliver Ramshaw 
" Speed " Collins 
'' Buck" Reynolds 
'^ Rabbit" Elbury 
*' Slats " McGee 
** Slugger " Wallace 
" Pep " Latimer 
''Fatty " Beecher . 
<' Square " King . 
**Red " Parker . 
RoLLiE Herford 
Jerry Milman 
Frank Lawler 
Ted Palmer 
Jed Ambole 
RoDDiE Koler 
Uncle Jasper . 
Professor Larkin 
Barkley 

A Messenger Boy 
Mr. Harrison 
Mr. Roberts 



^/le Greenboro coach 

star battery of the Greefiboro team 

the short-stop 

on first base 

right-field 

third basefnafi 

second-baseman 

leftfielder 

center-fielder 

the substitute pitcher 

the extra catcher 

utility man 

the umpire 

. catcher of the Hawksville team 

. an enthusiastic rooter 

. a reluctant worker 

a chemistry expert 

ma?iager of the Elmhurst Inviticibles 



who has offered a scholarship 
president of the academy 
Hawksville players, rooters, spectators, trainers, 
etc.. as desired. 



Characters may in some cases be doubled. Thus the 
same person can easily play Uncle Jasper and the Umpire, 
and anoiiier person Professor Larkin and Jed Ambole. 



Time of Playing. — One hour and a half. 



STORY OF THE PLAY 

"Speed" Collins, pitcher, and ''Square" King, left- 
fielder, of the Greenboro team, are close rivals for a valuable 
scholarship. Collins and Reynolds, the team's catcher, 
practice to play in a game for money, and the coach there- 
fore keeps them out of the big game with Hawksville. In 
revenge, they tell the other team the Greenboro battery sig- 
nals. The last scene shows the Greenboro players' bench, 
with an exciting game in progress. *' Square " King refuses 
to win for his side dishonestly, but Greenboro wins anyway, 
and ^' Square " gels the scholarship. 



COSTUMES 

Jasper. Old shirt, overalls and large straw hat. 

Mr. Harrison, Mr. Roberts, Barkley and Mr. Lar- 
KIN. Ordinary summer costume. 

The Boys. Act I, diversified schoolboy clothes, such as 
negligee shirts, jackets, tennis flannels, etc. Act II, same. 
Act III, same, with the exception of the players who are in 
baseball suits. Mark the Greenboro suits **G," and Hawks- 
ville *' H," to avoid confusion. 

Messenger. Regulation telegraph boy's costume. 



DIRECTIONS 



It should be noted that the baseball game is not played on 
the stage. It is supposed to be taking place off r., and the 
audience easily follows it by the words and acts of the play- 
ers, whose bench is on the stage. 

The prime requisite for a successful performance of ** On 
the Greenboro Nine " is to get the baseball spirit into it and 
carry it through with plenty of ginger. A reading of the' 
text will reveal the characteristics of the various characters, 
and it will be necessary to choose the actors with this in; 



PROPERTIES 5 

mind. Elbury should be small, Beecher either very fat or 
made up so, McGee tall and thin, Parker have red hair, etc. 
The action off r. in Act 111 should be very carefully re- 
hearsed. The umpire's voice, the crack of the bat when it 
hits the ball, or the ball as it comes into the catcher's milt 
should be distinctly heard. It will not be difficult to imitate 
these noises and they should all be carefully timed. Ap- 
plause by spectators, shouting by players and coaches may 
be interpolated as desired. There is room for clever stage 
direciion, and if these details are given attention, a satis- 
factory performance is assured. 



PROPERTIES 

For Uncle Jasper. Papers on the ground to pick up, 
rake, bushel basket, bandana. 
For King. A book. 
For Mkssenger. Telegraph sheet. 
For THE Boys. Gloves, bats, balls, etc. 



SCENE PLOTS 
ACT I 

L.fiiN2>SCAF£: DRO-P 




Scene. — The campus at Greenboro. Landscape drop 
and wood wings. Rustic bench, l. Exits l. and R. Green 
covering on the floor. Other garden settings as desired. 
A very satisfactory effect may be had by dressing the stage 
with a few bushes and green plants, omitting landscape drop 
and wood wings. 



SCENE PLOTS 

ACT ir 




Scene. — A plainly furnished room in the academy. 
Table down l. Sofa and chairs (or chairs only), R. En- 
trance up c. 





ACT III 






/v/< 




JBENQtk \ 




V^OflP 


^oci> 


t^'/VGS 


V^l NO S 




^^^ 



Scene. — The Green boro bench during the game with 
Hawksville. Landscape drop and wood wings. Bench, 
L. C. Water tank down r. Entrances r. and l. A very 
satisfactory effect may be had by dressing stage with a few 
bushes, etc., omitting drop and wood wings. 



On the Greenboro Nine 



ACT I 
SCENE. — The campus at Greenboro. A bench down l. 

{As the curtain rises, Uncle Jasper is raking the lawn 
and picking up papers, ivhich he is placing in a busJiel 
basket. He takes off his large hat and mops his hot 
brow.) 

{Enter ''Rabbit" Elbury, l.) 

Elbury. Pretty hot to-day, Uncle Jasper. 

Jasper. You am most suttinly c'rect on dat 'ere p'int, 
Mistah Elbury, an' if you had to rake off this here lawn 

Elbury. 1 wish I could get a rake-off. 

Jasper. You done can do dis here job. 

Elbury. No, thank you. I've got other fish to fry. 

Jasper. If you-all happens to have any extra fish, don't 
you go forget yo' old Uncle Jasper. {He sits down and 
fans himself?) It am most suttinly pow'ful hot. 

Elbury. It is warm, Uncle Jasper. 

Jasper. De good Lawd never intended no human man 
to work on such a hot day. Reach me that there paper. 
(Elbury acconwiodatingly puts the leaf into his basket.') 
Dey ain't no sense goin' foh to pick up all them papers.. 
Dey'U all be back to-morrow. What foh you boys litter up 
this place, anyhow? 

Elbury. If we didn't, there wouldn't be any work for 
you, Uncle Jasper, and you'd lose your job. Well, I've got 
to be going. Better get up. Here comes Prexy. 

{Exit Elbury, hastily, l.) 

(Enter Mr. Harrison and Mr. Roberts, r. Jasper 
slowly retreats to rear of stage and very deliberately 
moves his rake to and fro.) 

7 



8 ON THE GREENBORO NINE 

Mr. Roberts. The Ethiopian's aversion to acceleration 
of action is very apparent, Mr. Harrison. 

Jasper. Dat ar man's talking about me. I can feel it 
in my bones. 

Mr. Harrison. Quite so, Mr. Roberts. Now, in re- 
gard to this scholarship — how do matters stand ? 

Mr. Roberts. It's really nip and tuck between two 
men, Collins and King, both fine scholars and, strange to 
say, very prominent in athletics. 

Mr. Harrison. That's good. A sound mind in a sound 
body is the proper combination. 

Mr. Roberts. Collins learns very easily. He jumps at 
conclusions, but he usually jumps right. He can learn as 
fast as you can tell it to him, and he has a memory a mile 
long. Now, King is just the opposite. He digs for what 
he gets, works hard, "bones," as the boys call it, but he 
gets there. 

Mr. Harrison. It's close between these two, did you 
say? 

Mr. Roberts. Practically tie. King has a shade in 
mathematics, while ColHns is slightly better in history. 
Otherwise their records are a draw. To-morrow morning 
we test them on some laboratory experiments in chemistry. 
That may tell the tale. 

Mr, Harrison. I am going to watch the boys as oppor- 
tunity offers, but don't let any one know who offered the 
scholarship. 

Mr. Roberts. That's understood. 

Mr. Harrison. 1 want this to go to the best all-round 
boy, best in studies and best in character ; and remember I 
am to be the final judge. 

Mr. Roberts. Of course. 

{TJiey exeimt l. Jasper drops his rake and lies dowji, 
with his chin propped in his hand. He fans himself 
and mops his forehead.^ 

(En/er ''Speed'' Collins, ''Buck" Reynolds (7//^/ ''Pep" 
Latimer, r, ) 

Collins. Take it from me, boys, that was some feed we 
had last night. 

Reynolds. You're right it was some feed. I wonder if 
Prexy ggt wise the gan^ was out, 



ON THE GREENBORO NINE 9 

Latimer. I guess we kept it pretty dark. Sort of a 
celebration of your getting tlie scholarship, eh, Speed? 

Collins. 1 guess 1 have as good a chance as anybody. 

Reynolds. Sure, you've got it in your pocket. No one 
in Greenboro can hold a candle to you. 

Collins. There's King. 

Reynolds. Pooh ! He's too slow. 

Latimer, He gets there, though. 

Collins. I think 1 can show huri up in this chemistry 
lab work. It's going to cost me nine dollars tor the instru- 
ments, too. 

Reynolds. Nine dollars .? 

Collins. Yes, and 1 had to wire the governor, too. 
Old Smith kins wouldn't trust me for them. 

Reynolds. Too near the end of the term, eh ? 

Collins. 1 guess that was it. Anyway, 1 hope I get 
the money soon, or I'll have to call on you fellows. 

Reynolds. Gee, I haven't a red. i'm up against it. 

Latimer. I expect a remittance. 

Reynolds. Don't worry. It won't come. 

Collins, 1 hope there won't be any hitch. Come on 
over and ask Smithkins to lay them aside for us, though 1 
hate to buy from the old tight-wad. 

{^Exeunt Latimer, Collins and Reynolds, l. After a 
moinent Oliver Ramshaw and " Square " King en/er r. 
King /las a booJz in his hand?) 

Ramshaw. What do you expect to do after you leave 
Greenboro, Square? , 

King, 1 hope to go to Harvard, Mr. Ramshaw. It'll 
be a stiff job, because I'll have to work my way through. 
The folks are too poor to pay my way. 

Ramshaw. What course will you take? 

KiiNG. Engineering. Ever since I can remember, I have 
wanted to be an engineer. First, of course, it was a loco- 
motive engineer. It started, I think, in a picture book my 
uncle gave me when I had reached the mature age of two 
years. And 1 still want to be an engineer, though of a dif- 
ferent sort. 

Ramshaw {laughing). As the twig is bent ! Maybe 
you might win the scholarship. 

King. No, I guess not. Collins has that cinched, and 
he deserves it, too. He's a brilliant fellow. 



10 ON THE GREENBORO NINE 

Ramshaw. I don't know that I ought to tell you this, 
but 1 have an inside tip that you and Collins are practically 
tied, and that the chemistry test to-morrow will decide it. 

King. I guess he's got me in chemistry. It's always 
been my weak point, but I'll try for it, you may be sure. 
His folks could send him to college if it came to a pinch. 

Ramshaw. You have a great chance, Square. 

King. I've got to put in some time on it. Right here 
on this bench is as good a place as any. 

Ramshaw. Better than most. Well, see you later, 
Square. Be out at practice at three-thirty. 1 told the 
fellows they must all be there. Good luck. 

{Exit, K. King sits on bench, l.) 

(^Enter Professor Larkin, l. He cat-efully observes King, 
and after a moment approaches.^ 

Larkin. Mr. King, is it not? 
King. Yes, sir. 

Larkin. May I take a seat, Mr. King ? I want to dis- 
cuss a little matter of business with you. 

(King looks at his book regretfully but makes room for the 
professor on the bench beside him?) 

King. Business with me, sir? 

Larkin. Yes. My name is Larkin, sir; Professor 
Larkin, instructor in many branches, but specializing in 
chemistry. 

King. Chemistry has always been a stumbling block 
to me. 

Larkin. Quite so. It was in relation to that fact that I 
ventured to address you. I have good reason to believe 
that you have an excellent chance to win the scholarship. 

King. Well, I'm hoping. It means a lot to me to win ! 

Larkin. A most laudable ambition, my dear young 
man. I commend you unreservedly. I feel all the more 
inclined to aid you if it be within my power. 

King. Aid me ? What do you mean ? 

Lakkin. As I believe I mentioned, I have specialized in 
chemistry. It occurred to me that possibly we could arrange 
something in the way of tutoring. 

King. But, my dear sir, the examination takes place to- 
morrow morning. 



ON THE GREENBORO NINE II 

Larkin. All the greater need for sharp and decisive ac- 
tion. An hour or so in my laboratory and I think you 
would be splendidly equipped to do yourself justice. My 
terms for tutoring are very reasonable. Ten dollars will 
easily cover everything. 

King. But look here, I am not brilliant in chemistry. 
I can't hope to learn it all in an afternoon, no matter how 
expert the instructor. 

Larkin. Quite so. That is hardly necessary. What I 
had in mind was that you might brush up on the particular 
points likely to be covered by the examination. 

King. Yes ? 

Larkin. Of course, I make no guarantee, but I feel I 
am warranted in saying that I can safely forecast the gen- 
eral nature of the experiments. Forewarned is forearmed. 

King (rising). Let me tell you sometlnng, Professor 
Larkin. I want to win that scholarship. It means a great 
big chance for me, but if 1 have to win it by trickery, I'm 
going to give it up right now. 

Larkin (rising). Softly, young man. Sometimes the 
end justifies the means. Just think what four years in Har- 
vard can do for you. 

King. Yes, four years, and every minute of every day 
saying to me: ''You don't belong here. You cheated to 
get in. You have honors you don't deserve." No, sir, I 
don't care for any of that game, thank you. 

Larkin (turning to exit r.). It doesn't pay to be too 
sensitive, Mr. King. You will find that out as you get 
further on in life. 1 trust you will keep this conversation in 
confidence. 

King. I am as much ashamed of it as you are. 

(Larkin draws himself up haughtily and exits r. King 
picks up his book and saunters off L.) 

^ (Enter Mr. Harrison and Mr. Roberts, r.) 

Mr. Harrison. Who was that we just passed ? 

Mr, Roberts. That's old Larkin. He used to teach 
here. 

Mr. Harrison. He has an intellectual face. 

Mr. Roberts. Yes. He's very clever, but I'm sorry to 
say he's not honest. We had to drop him. Too bad. 

Mr. Harrison. It's a shame to have talents wasted. 



12 ON THE GREENBORO NINE 

Mr. Roberts. He can't get a position anywhere. How 
he lives is a mystery. 

(^Exeunt, L.) 

(^Enter Elbury, r.) 

Elbury {turning to Jasper). Do a good job, Uncle 
Jasper. 

Jasper. Guess Ah'm all through. Them lawn am plenty 
clean 'nough. 

Elbury {teasing). There's a little piece of paper, Uncle 
Jasper. 

(Jasper turns and picks it up with great deliberation and 
exits L. Exit Elbury, l.) 

After a moment Collins, Reynolds and Latimer enter l. 

Collins. Well, that's fixed, anyway. 
Jasper {off l.). Yassir, dat ar's him. Dat ar chap, 
right dar. 

(^Efiter Messenger Boy, l.) 

Messenger. Mr. Collins ? 

Collins. I am Mr. Collins. What do you want? 

Messenger. A telegram for you, sir. Sign here. 

Collins {signing). Telegrams always mean trouble for 
me. 1 hate to open it. 

Reynolds. Better get it over with. Here, let me rip it 
open. 

Collins. I guess not. I can read my own telegrams. 
Here goes. ( Opens te/egrafn and reads it aloud.) '' J sent 
you money for instruments. Positively will not send more 
without satisfactory explanation. Father." 

Reynolds. What do you say to that ? 

Collins. Boys, I'm up a tree. There goes the scholar- 
sliip unless you can help me out. 

Reynolds. I told you how I'm fixed. Speed, it looks 
to me like your governor doesn't care whether you get the 
scholarship or not. 

Collins. Care? You bet he cares. He expects me to 
win it. He's always said that he would never forgive me 
if I let any other fellow beat a Collins. He won a scholar- 
ship himself. 



ON THE GREENBORO NINE I3 

Latimer. It seems funny, then, he won't send the coin. 

Collins. He's peculiar. 1 guess he thinks I've been 
gambling, and he'd never stand for that. Well, 1 don't dare 
tell him about that supper. It looks as though I'm all 
through. It's pretty late to do anything. 

Latimer. Can't you borrow from one of the profs? 

Collins. Fine chance. I'd just love to go through the 
cross-examination they'd give me before they would separate 
from any real money. 

Latimer. Cross-examination's right. Well, I've got to 
meander. See you later, fellows. 

(^Exitj L.) 

Collins. I don't know what I can do, Buck, my boy. 
I was a fool to give that celebration until i had the change 
right in my jeans. 

Reynolds. No doubt of it. Speed. 

Collins. 1 noticed you ale as much as the next one, 
Buck. 

(^E liter Barkley, l.) 

Barkley. Is this Mr. Collins? (Collins nods.') Mr. 
Speed Collins? 

Collins. They call me Speed; eh, Bucky? 

Reynolds. I guess they've got good reason. 

Barkley. This is your catcher, I take it ? 

Collins. Yes, his name's Reynolds. What's yours? 

Barkley. Barkley. I'm manager of the Elmhurst In- 
vincibles, Mr. Collins. {^He looks furtively around.') 
We've got a game on over at Pikeville this afternoon, and at 
the last minute my pitcher had to go and get sick. Tm 
up against it. This game means a lot to our gang. I got 
a tip that you're a star and I came over here hot-foot, to 
take you back with me. 

Collins. What can you give me? 

Barkley. I'll give you five dollars apiece, and get you 
over and back. I've got a machine with me. 

Collins {shaking his head). No, I can't see it, Mr. 
Barkley. 

Reynolds. Take us for a couple of dubs, eh? Maybe 
Rollie would pitch for him for a five-spot, Speed. 

Barkley. I tell you what I'll do. I'll give you twenty- 
five dollars, and you split it as you like. 



14 ON THE GREENBORO NINE 

Collins {inotiofiing to Reynolds). Come here, Buck. 
Let's talk it over. 

Barkley. Sure, but make it yes. 

Collins. This will put me on Easy Street. 

Reynolds. We split even ? 

Collins. Sure ; half and half. All 1 want is the nine 
for my instruments, anyway. It's dangerous, though. 
Ramshaw said every man must be out for practice to-day 
without fail. No excuses will go. 

Reynolds. He won't discipline us. Why, he can't get 
along without us, can he ? 

Collins. I guess he can — not. Why, Hawksville would 
eat Greenboro alive if it wasn't for the star battery. 

Reynolds. Better take a chance. 

Collins. It will have to be incog. 

Reynolds. Incog? You've got me. 

Collins. Use different names, Bucky, so they won't get 
wise. I guess we can put it over. I don't know a soul in 
Pikeville. 

Reynolds. Nor me — and T don't want to, what's more. 

Collins {turning to Barkley). Mr. Barkley, meet Mr. 
Jones — and I am Mr. Hamilton. 

Barkley. I've got you. Good. The car's down on 
Main Street. Meet you there in five minutes. Have you 
back before supper. 

{Exit, L.) 

Collins. Now, isn't that luck ! 



curtain 



ACT II 
SCENE. — Room at Greenboro Academy. Evening. 

{As the curtain rises, "Slats" McGee and Elbury 
e7iter c.) 

Elbury {looking at his watch'). Ten minutes to seven. 
We're here early. Something must have happened when 
we got any place early. {Sits on table down L.) 

McGee. Did old Snack teach you that ? {Sits R.) 

Elbury. Teach me what? 

McGee. To say, ** We got any place early." 

Elbury. No, nor he didn't teach you to call him "old 
Snack," either. 

McGee. He is old and his name is Snack, so it's a de- 
scriptive term and not disrespectful — see. Rabbit ? 

Elbury. If so, call him "old Snack" in class next 
week and watch for result's. 

McGee. I always pursue the more peaceful paths of life, 
Rabbit, believe me. 

Elbury. All joking and for publication stuff in the 
ginger-jar. Slats, what do you think is going to happen 
to-morrow? 

McGee. Take it from me, Jack, we are going to make 
one fine cleaning up with that Hawksville crowd. 

Elbury. Where.do you get the "Jack" from, Slats? 

McGee. Why, from Rabbit, you ossified exhibition of 
density. Jack Rabbit, to be sure. But how can you figure 
it that Hawksville's got a chance to lick us? 

Elbury. They did last year, Slats. 

McGee {disgusted'). You certainly make me very, very 
fatigued, Rabbit. Why, last year we didn't have the great 
battery, Collins and Reynolds, did we? No, we did not. 
Pass to the head of the class. Why, that bunch won't get a 
real good look at one of Speed's smoke balls. When the 
umpire waves 'em out they'll claim he never pitched the 
ball. Furthermore, I wasn't on the team last year. 

Elbury. No, and some say you won't be next year 

McGee. Why, you insignificant little bit of a Rabbit, 



l6 ON THE GREENBORO NINE 

just wait till I lay hands on you. {Pursues Elbury 
around the rooin. Elbury puts chairs iii his way and 
leads him a good chase, but is finally captured, down c. 
McGee shakes hifn roughly.^ Do you take that back, you 
small-sized shrimp, you? (Shakes him some tnore.) 

Elbury. Let me go, let me go, you big toothpick, let 
nie go. 1 was only joking. Can't you take a joke? 

McGee {alUnving Elbury to rise). Not when it's on 
me 1 can't. Now, don't you ever make any more of your 
nasty insinuations. Who was it won the game over at Pell- 
hurst by making a home run with the bases full ? 

Elbury. Yes, and who lost one over at Camberg by 
muffing an easy pop-fly with two out in the ninth ? {Sits R.) 

McGee. The sun got in my eyes. 

Elbury. You'd been eating too much pop-corn, that's 
all. 

McGee. Pop-corn? 

Elbury (c). Yes, and the butter got on your fingers. 

McGee. Never mind that, Jack, or I'll oscillate you 
some more. 

Elbury. So long as you don't osculate me, I can 
stand it. 

McGee. Oh, I'll leave that to cross-eyed Susan. 

(Elbury makes a grimace.) 

Elbury {sitting on table, l.). But I say, Slats, won't 
we be up against it if Collins can't pitch ? 

McGee. If Collins can't pitch? Please talk sense if 
you can, Rabbit. Do you expect that Collins is going to 
be killed, wounded or spirited away between now and 
three p. m. to-morrow ? 

Elbury. You know the coach said every man on the 
team must be out for practice to-day. Collins and Reynolds 
weren't there, were they? 

McGee. Coach Ramshaw's got too much sense to do 
any disciplining before to-morrow's game. 

Elbuky. Yes, but suppose 

McGee {exasperated). D'you suppose for one minute 
that Ollie Ramshaw has no better sense than to give away 
the biggest game of the season by keeping his star pitcher 
out? Your vaporings are very wearying to-night. Rabbit; 
unusually so, 

Elbury {doubtfully). I know, but Ramshaw's got a 



ON THE GREENBORO NINE I7 

will of his own. He told the fellows to be there, and he 
said he wouldn't excuse anybody. 

McGee. He won't keep Collins out. But if he does 
and we lose, why, by this lime to-morrow, there'll be a peti- 
tion a mile long, all duly signed, that we have a new coach 
next year. {^Enter Collins and Reynolds, c, and come 
down c.) Hello, Speed. Hello, Buck. Where were you 
this P. M. ? 

Reynolds. None of your business, to be entirely frank 
with you, Slats. 

Elbury. Ramshaw said that everybody had to be out. 

Collins. We weren't out, were we? 

Elbury. Why, no 

Collins. Then everybody didn't have to be out, did 
they ? 

Elbury. He might keep you out of the game. 

(Collins, Reynolds and McGee laugh heartily.) 

Collins. Yes, Ollie Ramshaw is full of just such tricks. 
He's too fond of his job to do any monkeying with the 
band-wagon. 

Elbury. If he had another good 

Collins. There you go with that " if" of yours. We'd 
have beaten Hawksviile last year if we'd made more runs. 
If he had a good substilute he could tell me where I got off 
at, but as it is, 1 guess Bucky and 1 have a little edge on 
him. Eh, Bucky ? 

Reynolds. You're right there, Speed. 

Elbury. You don't think much of Rollie? 

(^Goes I.., joining McGee.) 

Collins {laughing). Oh, Rollie'd be all right for a 
kindergarten team, but say, those Hawksviile boys'd knock 
his shoots into the next county. You can't tell his curve 
and his fast one apart. 

Elbury. They tell me he's practicing a slow one. 

Reynolds (going r.). Oh, his fast one is a slow one. 
Don't I know? I've caught him. Could do it barehanded. 

McGee. I guess with you in the box, Speedy, old top, 
we can hand 'em a bunch of goose-eggs, maybe. 

Collins {going r.). If the old smoke gets to working 
right, their bats won't help 'em much. 



l8 ON THE GREENBORO NINE 

Reynolds. You'll find us in the big leagues yet. 

(^E liter Ramshaw and King, c, closely followed by the 
other members of the team}) 

Ramshaw (c). Hello, fellows. Now, let's get busy. 
Hello, Collins. Have you anything to say to me? And 
how about you, Reynolds ? 

(^He steps aside to give them a chance to speak privately.) 

Collins (Jji a surly tone). I don't know as I have any- 
thing special. 

Ramshaw. How about you, Buck ? 

Reynolds. Me, neither. 

Ramshaw. You're quite sure? 

Collins. Quite sure for mine. 

Reynolds. Same with me. 

Ramshaw. Think hard. [Pauses.') Nothing special to 
say ? (Collins atid Reynolds 7iod negatively. Ramshaw, 
decidedly.) Very well. Herford and Milman will be the 
battery for to-morrow's game. 

xf \ {in protest). Oh, Mr. Ramshaw, 

"fTtty- Beecher 1 ^^^'^^ sot to win that game. 

Ramshaw. That's all right. There was practice to-day. 
Every man was supposed to be there. Every man who 
wants to see Greenboro win was there. I'hese fellows sent 
no excuse. They offer none now. Herford and Milman 
start the game to-morrow. 

Elbury (aside to McGee). Start's right. 

Collins. Just as you like, Ramshaw. If you want to 
throw the game by keeping us out, go ahead. 

Reynolds. There'll be a new coach here next year, I 
bet. 

Ramshaw. I don't care about next year. We're going 
to have discipline on this club, if they lick us nine to 
nothing. 

Collins. All right, if you fellows want to play on the 
team and be made monkeys of, that's your funeral. I guess 
I know better how to keep in training than any upstart 
coach. 

Ramshaw. As you like, Collins, but Herford starts the 
game. 



ON THE GREENBORO NINE I9 

Collins {to Reynolds). Guess we had better sneak, 
Buck. We aren't wanted in this crowd. Ta, ta, Rammie, 
old chap \ hope you win the game to-morrow. So long, 
fellows. 

{Exeunt Collins «;/^ Reynolds airily, c.) 

Ramshaw. Now, don't you quit, boys. Herford is a 
mighty good pitcher and he has developed a slow ball that 
is a peach. If we play the game to the limit, we'll beat that 
Hawksville crowd hands down. Now, if they pitch Houser, 
we'll start bunting on him. He's got a beautiful curve, but 
he's fat as a porker, and he'll fall all over liimself picking 
up the ball. Never mind if you get out, keep on trying. 
Houser can't hold out if we make him field bunts. 

" Red " Parker. But suppose they pitch Remington ? 

Ramshaw. 1 don't think they will, but if they do, hit it 
a mile. He makes his curve break just about once in three 
times. 

King. Who catches for them ? 

Ramshaw. Ambole or White. Ambole's a dandy 
catcher, but a punk hitter. You won't steal bases on him. 
White's a joke behind the bat, but he can lace the ball to 
the four corners of the lot. 

RoLLiE Hekford. The more weak hitters, the better 
for me. 

Ramshaw. Nonsense, Rollie ; if you get your slow ball 
working, they'll break their backs reaching for it. 

King. Excuse me a minute, will you, Mr. Ramshaw? I 
want to have a word with Collins, if 1 can find him. 

Ramshaw. Sure, go ahead. It won't do any good, 
though. {Exit King, c.) The batting order will be the 
same as we used this afternoon. But 1 think I'll change the 
signals. Oh, King! Oh, he got out, didn't he? Never 
mind, I'll tell him later. Right hand to the cap means hit 
and run. Left hand means nothing. I'll coach the battery 
in signals at one o'clock to-morrow afternoon. I guess 
that's all for to-night, boys, but remember, a stiff upper lip. 
We are going to lick Hawksville to-morrow, and little Her- 
ford is going to blossom out as a star pitcher. 

{All exeunt c. , talking and laughing. After a moment Col- 
lins and Reynolds enter c.) 



20 ON THE GREENBORO NINE 

Collins. Well, I guess they've gone. 

Reynolds. Sure they're gone. I heard them on the 
stairs. 

Collins {shaking his fist toward tJie door'). I'll fix him 
yet, sure as you're a foot high, Bucky. 

Reynolds. I'm in on that, Speedy, my boy. 

Collins. Of course we ought to have been out to prac- 
tice, but where would that tweniy-five be if we had ? What's 
it to him, anyway? 

Reynolds. He's not going to boss me. 

Collins. I'm not sure whether to let things take their 
course, or to make dead sure. 

Reynolds. Oh, make dead sure. How can we do it? 

Collins. As 1 dope it out, they'll slug the daylights out 
of Herford, anyway. His curve isn't visible to the naked 
eye, but if they were to happen to know when he was going 
to put it in the groove, why, our boys'd never get 'em out. 
Tiien again, Buck, my boy, if they knew positively when 
our fellows were going to try to hit and run and pitched out 
for it, they'd get the runner every time. 

Reynolds. Yes, if they knew. 

Collins. Maybe we could fix it so they would know. 

Reynolds. That's the stuff, Speed. We'll show 'em up. 

Collins. Of course, if I went to their coach, he'd throw 
me out bodily, but Jed Ambole, their catcher' s not so thin- 
skinned. If he knew the signals, he'd be willing to profit 
by it. Jed always manages to put up a little money on the 
game, and he'd just as soon make his little ten-spot safer. 1 
can manage to get hold of Jed before the game and cook it 
all up, if you just say the word. 

Reynolds. Go to it, Speedy, old boy ; consider the 
word said. 

Collins. I'll look to you to back me up of anything 
happens. 

Reynolds. I guess we'll show old Ramshaw how good 
his team is without us. I hope the score's twenty to nothing. 

Collins. It'll be that bad, at least, Bucky. 

{Enter King, c.) 

King. Hello, fellows, I've been looking for you. Better 
come on along with the rest of the gang. Don't sulk just 
because you're being disciplined. Take your medicine. 

Collins. Oh, we're all right. 



J 



ON THE GREENBORO NINE 21 

Reynolds. Sure, nothing sticks in my crop. 

King. I'm glad to hear it. We must all pull for old 
Green boro, you know. 

Collins. How about the signals, King? Did Rammie 
make any changes? We weren't out to practice, you know. 

King. No, I haven't heard of anything different. (Col- 
lins and Reynolds exchange significant glances.') Come 
on, fellows, and we'll hunt up the crowd. 

Collins. Nix; bed for mine. Rammie might let me 
pitch yet. 

Reynolds. The downy sounds good to me. 

King. I'll tell the fellows you're not sore. 

Collins. Sure ; go as far as you like. 



CURTAIN 



ACT III 

SCENE. — Tlie Greenboro bench duritig the ga?ne with 
Hawksville. Bats lying on ground, k., water-tank, R., 
bench a little left of c. 

(^As the curtain rises, the Greetiboro players are putting on 
their gloves, preparing to take the field. Collins a7id 
Reynolds are on the bench. The boys shout : " Green- 
boro ! Greenboro! Wlupde-ray de-boovi-de-ay, Green- 
boro T' Ted Palmer /j- not on the stage; his voice is 
heard off R.) 

Ramshaw (as he folloivs the boys off w.). Hold 'em 
down, fellows. Get the first one. 

Reynolds. Can you beat it, Speed, for a kid to go in 
and pitch a game like that ? 

Palmer (Jieard off ^.). Ball one. 

Collins. 1 thought by now they'd have made twenty 
runs. 

Palmer. Strike one. 

Reynolds. Nothing to nothing for six innings is going 
some. Our signals don't seem to help them any. 

Collins. There it goes. 1 wonder if Elbury will fumble 
that one. 

Reynolds. For small hands, the Rabbit's have got more 
holes in them than anybody's 1 know of. 

Collins {disgusted). No, he's got the fellow out. 

Reynolds. Are you sure you got the signals to them, 
Speed ? 

Palmer. Ball one. . . . Ball two. 

Collins. I told them all to Ambole myself. He was 
tickled to death. 

Palmer. Strike one. . . . Strike two. . . . 

Reynolds. Well, he doesn't seem to begetting any good 
out of them. Why, they ought to have about six home runs 
by now. 

Palmer. Strike three. You're out. 

Reynolds. Just look at that. Struck out, and he never 
lifted his bat. 

22 



ON THE GREENBORO NINE 23 

Collins. Well, this Hawksville crowd are certainly a 
bunch of rubes. Why, they wouldn't even have got a foul 
off me. 

Reynolds. There it goes. 

Collins, Right on the nose. It's a homer, sure ! Just 
look at that ball go. 

Reynolds. Maybe King'll get it. 

Collins. Aw, you make me very tired, Bucky. He 
won't get within a mile of it. 

Reynolds. Look at him run. 

Collins. It won't do him any good. 

Reynolds. Just look at him. {^Applause off r.) I told 
you he'd get it. 

Collins. Aw, King is always butting in like that. 

{The Greenboro players come rutuiing in r., excited and 
happy.) 

Elbury. Wasn't that catch of King's a peach? 

McGee. a peach ? A whole bushel of 'em. 

Beech ek. Better make it an orchard. 

King. It was a lucky stab. {The players are slapping 
King on the back and congratulating him.) And let me 
tell you, boys, don't make any mistake, Rollie's getting to 
be a pitcher. Why, that slow ball of his is as deceptive as 
a magician's trick. 

(King and McGee are selecting bats and swinging them 
lightly.) 

Ramshaw. Get 'em this time. Keep right on bunting. 
He's pretty tired now. 
Pai.mek. Batter up ! 
Ramshaw. Go to him. Square, old chap. 

(King, bat in hand, starts off r.) 

Palmer. Ball one. . . . Bali two. 

Beech er. He'll get a pass. 

Ramshaw. No, there he goes ; a beautiful bunt. 

Collins. Aw, they've got him out by a yard. 

Palmer. Y&'re out. 

McGee. Let me hit it a mile, Mr. Ramshaw. 

Ramshav^^. No, bunt it. That's the game. 

{Exit McGee, r.) 



24 ON THE GREENBORO NINE 

Collins. Let *em bunt if they want to. 

Palmer. Foul. . . . Strike. . . . Strike two. 

You're out. 
Reynolds. He tried to bunt a tliird strike. 

(^Lai/g/is loudly.) 

Ramshaw {to McGee, who has returned crestfallen). 
That's all right, Slats. We'll get 'em yet. Watch Beecher. 

Collins. Going to let the lat boy bunt? 

Beecher {walking off r.). Yes. And watch me get 
away with it, bench-warmer ! 

Palmer. Ball one. . . . Strike one. 

Ramshaw. There it goes now. {The fellows on the 
bench, except Collins and Reynolds, are much excited.) 
Fatty's made a perfect bunt. Aw, look at that throw. 
Missed the first-baseman a mile. Fatty's going to make 
third. 

{Great applause and shouting off r.) 

Collins {to Reynolds). That human giraffe thought 
he was flying a kite. You couldn't reach that throw with a 
step-ladder. 

Ramshaw. Come on, Slugger, a single means a run. 
ril coach on third. 

{Exit, R.) 

Collins. Good-night. 

Reynolds. Stay as long as you like. 

{Exit ''Slugger" Wallace, r.) 

McGee. Aw, keep still, can't you? 

Collins. Remain after school, and I shall chastise you 
severely. Slats. 

Palmkr. Ball one. . . . Ball two. 

Several in Chorus. He can't put it over. He can't 
put it over. 

McGee. If he does, Wallace'll knock the cover off it. 

Collins {sarcastically). Oh, isn't lie going to bunt? 

McGee. Not with two out, you dummy. 

Herford. There it goes. 

Elbury. It's a hit ! It's a hit ! 

Palmer. You're out. 



ON THE GREENBORO NINE 2$ 

McGee. Out? Why, the robber ! Wallace was safe a 

yarti. 

(^Uproar from others. Mingled applause and Jeers off u.) 

Ramshaw {entering). Shut up, fellows. The uiupire 
says out. 

Reynolds. If the umpire called you a fool, I suppose 
you'd be one. 

McGee {laughing). You would, whether he called you 
one or not. 

(Reynolds makes a pass at McGee, who side-steps nimbly. 
The other players are gradually preparing for the field.) 

Ramshaw. This inning's easy. Ambole and Houser 
can't get half a hit between them. 

Herford (^near exit). I need all the easy ones I can 
get. 

McGee {turning to exit). How's Elsie, Rollie? 

Herford {^pretending innocence). Elsie who? 

{Loud giiffaivs as the boys rush out on the fields r. Ram- 
shaw follo7vs, encouraging the players as they go.) 

Reynolds {to Collins). If anybody ought to be wise, 
it is Ambole. 

Palmer. Strike one. 

Jed Ambole {off k.). Aw, go on. It was 'way over my 
head. 

Palmer. Strike two. 

Collins. Look at that. Rollie clipped one over while 
he was argufying. 

{^Enter Ramshaw, r,, and stattds r. watching the game.) 

Reynolds. Jed doesn't go after it as though he knew 
what was coming. 

Collins. Take it from me, Jed Ambole, next to Mike 
Houser, is positively the poorest batter in captivity. 

Palmer. Ball one. 

Reynolds. Right over the pan, at that. 

Collins. The umpire's evening up for that strike Am- 
bole kicked about. 

Palmer. Strike three. You're out. 

Reynolds, isn't Ambole the happy kid? Just look at 
that face. 



26 ON THE GREENBORO NINE 

Collins. They'll get to that slow ball yet. 
Reynolds. Yes — especially when they know what's 
coming. 

Palmer. Ball one. . . . Strike one. 

Collins. Lift your bat, you jumbo. 

Palmer. Strike two. 

Reynolds. Didn't he make a wicked smash ? 

Collins. Yes, he did — not. 

Palmeu. Strike three. You're out. 

Voice {off ^.). Mr. Ramshaw is wanted. 

{Exit Ramshaw, r.) 

Collins. Now they've got the head of their line-up, 
they ought to do something. 

Palmer. Batter up. 

Collins. This Smith is some batter, too, they tell me. 

Palmer. Ball one. 

Reynolds. Whew ! Did you see that ball come in ? 
What's Herford trying to do, anyway? 

Collins (,^rifdgin^s:iy). It sure did have some smoke on 
it. 1 didn't know the kid could throw a ball like that. 

Palmer. Ball two. 

Reynolds. The slow one, just a little wide. 

Palmer. Ball three. 

Collins. He can't control that slow one any more. 
You watch. It's a pass, sure. 

Palmer. Strike one. 

Reynolds. He cut the pan that time. Now, it'll be the 
fast one right over. 

Palmer. Strike two. 

Reynolds. Just as I told you. Smith never bit at it. 
Now watch him go for this one. 

Collins. He'll pickle it, too. Ambole's put him wise. 
Some of the fellows Jed didn't dare tell — knew they'd tell 
the coach. Too honorable — all that guff. But Smith's not 
too tender to take a hint. 

Reynolds. This is the one that tells the story. 

Collins. Never mind watching the batter. AVatch the 
center field fence. 

Reynolds. Tell that pitcher to stop posing and throw 
the ball. 

Collins. Some wind-up, eh ? 



ON THE GREENBORO NINE 7.'] 

Reynolds. There it goes. It's the fast one. 

Collins. Wait till he pickles it. 

Reynolds. He knows what's coming. Look at him 
stepping right up into it. (Collins and Reynolds yV/w/ 
to their feet excitedly.') Into it's right, it caught him 
right on the head. Gee, that's a nasty one. 

Palmer {calling). Is there a doctor present? 

{Several Greenboro players rush excitedly to the water-tank.) 

Collins. Is it a bad one? 

Beecher. Right on the head. 

McGee. And the speed. Why, it was like a cannon shot. 

{Exeunt a couple of Greefiboro players with water.) 

Collins. That's tough, Bucky. He got twisted some- 
how in the signals. 

Reynolds. Why, he stepped right into it. I didn't 
know the kid could throw a ball like that. 

Collins. Well, I hope they don't find out we tipped 
them off. 

(Ambole rushes in, excited and afigry. He whirls upon 
Collins.) 

Ambole. It's all your fault. You gave us the signals, 
didn't you? {The Greenboro players flock around; also 
several Hawksville players.) Well, you gave us the double 
cross, that's what you did, and I have a mind to rap your 
head for you. I told him the signal and your pitcher signed 
for a straight one, and when Smithy stepped into it, it 
curved right into his face. {Angry murmurs frojii the 
players.) Caught him near the temple. It won't be your 
fault if he's not killed. I'm going to help carry him off the 
field, but I'll settle with you fellows later. 

{They all exeunt r. to see the injured player. Reynolds 
and Collins remain at r. of stage, looking off r.) 

Collins. We're in one neat little box, Bucky. We'll 
be lucky if we aren't expelled, and if the faculty get wise, it 
will be good-night to that scholarship. 

Reynolds. I was afraid you'd get us in Dutch, Speedy. 

Collins. Me ? 1 didn't have anything more to do with 
it than you did. 



28 ON THE GREENBORO NINE 

Reynolds. We'll deny the whole thing, and then see 
what they can prove. 

[Enier Ramshaw, r.) 

Ramshaw. I have a telegram from the president of the 
conference. He says you two fellows played professional 
ball under other names yesterday. You are ineligible to 
play for Greenboro or any other amateur team until the 
conference reinstates you. 

Collins. There isn't any use our defending ourselves, I 
suppose? 

Ramshaw. No. I can't do anything until you are 
reinstated. 

Collins. I suppose we'll have to leave the bench. 

Ramshaw. That's the rule, Mr. Collins. 

Reynolds. Aw, come along, Speed. 

{Exeufit CoiAAiiS a/itf Reynolds, jauf//i/y, l.) 

i^Loud cheers are heard off r. McGee enters hastily, r.) 

McGee. He's better, but Perkins is going to play in his 
place. 

Palmer. Play ball ! Batter, take your base ! 

{Enter Roddie Koler and Frank Lawler.) 

Lawler. I thought I'd better get down here in case you 
need me, Mr. Ramshaw. 

Koler. Going to let me see the finish from the bench, 
Mr. Ramshaw ? 

Ramshaw. Sure. There's plenty of room. If RoUie 
broke an arm, we'd be up against it. 

Palmer. Strike one. 

Koler. Who is this fellow, anyway? 

Ramshaw. His name is Powers. 

Palmer. Strike two, 

Koler. Well, he doesn't live up to it. 

Lawler. Look at that wallop he took. The whole 
crowd of them are sore. 

Palmer. Ball one. 

Koler. Yes, as sore as a boil, 

Ramshaw. They think we purposely fooled them about 
the signals, and as a consequence Smith got hurt. 

Palmer. You're out. 



ON THE GREENBORO NINE 29 

KoLER. Struck him out, by ginger. Whip-de-ray-de- 
booiii-de-aye, Greenboro ! 

{The Greenboro players troop in, excited, but very much in 
earnest. ) 

Ramshaw. Now's the time to get the run, boys. All 
RoUie needs is one. Go out and get it. 

(Parker, Latimer and Elbury select bats. The others sit 
around on the ground and on the bench. Parker exits r. 
to bat.) 

Beecher. This is the toughest game we ever got into. 
Nothing to nothing in the last half of the eighth. 

McGee. Some pitching for amateurs. 

Ei,BURY. This is the inning where we win. 

Jerry Milman. Not by the look of that. 

Pat.mer. You're out. 

Ramshaw. You're up. Pep. Go right after them. 
We've got him tired. Hit it out. 

Several. You can do it. Pep. 

{Exit Latimer determinedly, r.) 

Milman. Did we ever lick Hawksville? 

Ramshaw. If we ever did it was so long ago that they 
don't even teach it in the Ancient History class. 

Palmer. Strike one. 

Beecher. Look at that ball go. {The players jump to 
their feet excitedly: All are very tense until loud applause 
is heard off R.) By George, that was a circus catch. 

Ramshaw. Robbed us of a homer, sure. Two down. 
Go right after it, Rabbit. 

Ef.BURY {at exit, r.). Watch me work him for a base on 
balls. 

{Exit.) 

Palmer. Ball one. 

Wallace. Well, that was wide enough. 

Palmer. Ball two. 

McGee. The Rabbit has a good eye. 

Beecher. You hit at one a mile over your head. 

Palmer. Strike one. 



30 



ON THE GREENBORO NINE 



McGee. Yes, and you plowed up the ground trying to 
dig one out of the dirt. 

Palmer. Ball three, 

KoLER. Whoop de-rum-de-dum, Greenboro ! 

Several. He can't get 'em over. He can't get 'em 
over. 

Palmer. Ball four. Take your base. 

Ramshaw. I'll coach myself. We need a run, now or 
never. Don't hit, Jerry, until the Rabbit has a chance to 
steal. 

(^Exit, R.) 

MiLMAN. Watch me poke her out of the park. 

Beech ER. We'll all be watching. 

Palmer. Batter up. 

KoLER. Look at that lead. He's half-way to second. 
Better watch out. 

Palmer. Ball one. 

McGee. There he goes ! There he goes ! Look at that 
Rabbit run ! 

King. They can't put the ball on him. He's too small 
to find. 

Herford. Oh, the throw's got him bent. {Groans.^ 

King. No, it hasn't. Look at that slide. Just look at 
that slide. 

McGee. The famous vanishing slide. The Rabbit and 
I have been practicing it for a month. 

King. Anyway, he's safe on second. Now, if Milman 
can only deliver. 

Br.ECHER. Just a little single, Jerry. 

Wallace. If ever you hit it, let it be now. 

Parker. There it goes. There it goes. 

King. They can't get it. 

{The players are all standing and excited.^ 

Beecher. Right over second. Come on, you Rabbit. 
Come on, you Rabbit. 

McGee. Just look at him run. 

King. He'll beat any throw they can make. 

Beecher. Well. T guess yes. 

Parker. He's in. Safe a mile! A run, a run! We've 
got a run ! 



ON THE GREENBORO NINE 



31 



{^The boys scramble all over each other in their excitevient, 
shouting enthusiastically. Elbuky cojues to tJie bench 
breathless and brushing his clothes. He is congratulated 
on all sides.') 

IMcGee. Oh, they've got Milman between bases. Yes, 
he's out. 

King. Never mind. We've got the run. Now, hold 
'em down. 

{Enter Ramshaw, r.) 

McGee. We'll hold 'em. 

Ramshaw. Hold them tight, fellows. AVe've got the 
edge now. They'll find it hard to get a run the way we're 
going. 

Palmer. Batter up. (77/<? players exeunt hurriedly, 
KoLER, Lawler and Ramshaw re?naining on the bench.) 
Batter up. 

Ramshaw. This Jackson's in a batting mood to-day. 
Look at him go after that one. 

Palmer. Strike one. 

KoLEK. He's made two hits already. 

Lawler. That's enough. Believe me. 

Ramshaw. It ought to be {suddenly excited^, but there's 
another. 

Lawler. Right over second, a beaut. 

KoLER. Hold 'em I Hold 'em ! Hold 'em ! Green- 
boro ! 

Lawler. I hope Lynch doesn't butt in with another 
three- bagger. 

KoLER. Well, you hang on to that bench and hope hard. 

Ramshaw. It's the hit and run. 

KoLER. Right into Slats' mitt. 

Ramshaw. It's as good as a sacrifice. 

{Shouts from the Haiuksville coach can be heard off r.) 

KoLER. My heart's in my mouth. 
Lawler. How does it taste? 

Ramshaw. They've got two chances to bring it in. 
Palmer. Strike one. 
Kolek. This excitement is too much. 
Lawi,er. Get under that bench and I'll tell you about it 
when it's all over. 



32 



ON THE GREENBORO NINE 



KOLER. It's a hit. (Groans.) 
Lawler. Not much; Elbury will get it. 
Ramshaw. 'I'he Rabbit is gobbling everything to-day. 
Palmer. You're out. 

KoLER. Oh, what an excitement. Two down and a 
man on third. 

La WEEK, And one needed to tie. 
Ramshaw. If we can only get this man. 
Lawlek. There it goes. It's a fly. 
Ramshaw. King'U get it. 

{All three rise excitedly.') 

Koler. By George, he can't make it. He was playing 
too deep. 

Ramshaw. Look at him run. 

Koler. Oh, Mr. Ball, stay up a second. 

Lawler. He can't make it. 

{A great shout is heard off R.) 

Ramshaw. He's got it. He's got it; the side's out. 
Greenboro wins. 

Palmer. You're out. 

( Greenboro players come trooping in R. , excitedly. P a linier, 
removing his cap and protector, is among them, also sev- 
eral Hawksville players and spectators. The Greenl)oro 
players are clapping each other on the back and shaking 
hands. Behind them all King comes rutining in R.) 

King. What was your decision, Mr. Umpire? 
Palmer. Out. Side's retired. 

King. You're wrong, Mr. Umpire. I didn't catch that 
ball. Their run counts and the batter is safe. 

( Consternation and astonishment on all sides.) 

Several. He can't reverse his decision. 

King. I reached for it, and it came to me on a little 
short bound and stuck in my mitt. 

Palmer. Well, this beats anything I ever heard of. Re- 
sume your places. 

McGee. He can't change his decision. Why, that 
would tie the score. 



ON THE GREENBORO NINE 33 

Ramshaw. Yes, he can. We want to win honestly. 
Square is a prince. Go back and hold them. 
Palmer. Batter up. 

( The players exeunt excitedly.) 

KoLER. That makes it one to one. Well, he's like a 
piano, that King is. 
Lawler. How ? 

KoLER. He's square, upright and grand. 
Ramshaw. He is that. Well, Ambole won't do anything. 
Palmer. You're out. 

(The Greenboro players come trooping 171^ not so jubilant 
as before.') 

Elbury. I don't see why King had to be so mighty par- 
ticular. 

McGee. Why couldn't he leave it to the umpire ? Why, 
in the third inning I was safe a mile, and he called me out. 

Ramshaw. No, sir, we don't want to take any game that 
way. Now go out and win it. 

McGee (^gloomily). Maybe ! 

Elbliry. Oh, clieer up. Slats. 

McGee (^grumbling). I say, let the umpire decide. 

Palmer. Batter up. 

Ramshaw. Herford's up. 

Elbury. Start something, Rollie. 

Herford (as he exits r.). I got a base on balls in the 
second inning. 

Elbury. That's what I call robbing a baby. 

McGee {still grumbling). There we had the game and 
they pulled it away. 

Parker. You're all right. Square. 

Beech er. You done noble, as the poet said. 

Ramshaw. We'll win yet. 

Latimer. Win your own game, Rollie. 

Elbury. He's full of just such tricks. 

Wallace. He's held 'em down so far, hasn't he? 

McGee. Yes, but look at the support we've given him. 

Elbury. Talk about your stone-wall infields. 

Palmer. Strike one. 

McGee. Aw, hit at 'em, Rollie. 

Beech ER. A stone wall's a sieve compared to us. 



34 ON THE GREENBORO NINE 

Palmer. Strike two. 

McGee. Well, he pretty near hit it. 

Elbuky. You make a pretty big target to hit at, Fatty. 

Beecher. You don't see anything get past me, do you ? 

Elbuky. You fumbleii one. 

Beecher. It didn't get past me, though. 

Palmer. Strike three ; you're out. 

McGee. One down. 

Latimer. Paste her a mile, Square, old chap. 

(King takes a bat determinedly a?id exits. ^ 

Ramshaw. King'll win this game right here. I'm going 
out to coacJL 

McGee. If he don't it won't be because he doesn't try. 

Palmer. Strike one, 

McGee. Now. Get onto that swipe. 

Elbury. He wants it all or nothing. 

McGee. Guess it'll be nothing. Houser's got an awful 
curve. 1 saw a snake first time up. 

Palmer. Strike two. 

McGee. He's feeding 'em to him right over the plate. 
{The players jutnp to their feet excitedly.') There it goes. 
By George, it's a liner. 

Elbury. Right to center field. 

Latimer. No, left' 11 get it. 

Wallace. They won't any of 'em get it. It's between 
'em. It's a two-bagger, sure. 

McGee {jumping around). It's got past tliem. Come 
on, you Square. 

Koler. Make it third. 

Lawler. The center fielder's got it. 

McGee. He's coming home. 

Elbury. Look at that throw. 

{The players crowd around af r. of stage, greatly excited 
and apparently watchi7ig the flying King and the ball sent 
to intercept him.') 

Koler. They're right together. 
Lawler. Slide, King, old chap. 
Several. What is it? 

McGee. Safe ! The umpire says safe. A homer for 
King ! 1 told you so ! 

Elbury. Greenboro wins ! 



ON THE GREENBORO NINE 35 

(King and Ramshaw come rujining in, King brushing 
his suit. llie boys put King on t/ieir shoulders, all 
shoutings " Greenboro, Greenboro, whip-de-ray-de-boom- 
de-ay Greenboro T') 

Ramshaw. We beat them, and we beat them square. 
Elbury. " Square's " right. 

(^Lays a hand on King's shoulder.) 

(^Enter Mr. Harrison and Mr. Roberts, r.) 

Mr. Harrison. I want you to show me the boy who 
came forward and told the umpire he didn't catch that ball. 

Mr. Roberts {singling King out from his croivd of ad- 
mirers). This is the lad. 

Mr. Harrison. What, the same one that made the home 
run ! 

Several. Sure. He won the game for us. 

Mr. Harrison. 1 told you I was to be the sole judge of 
the bestowal of the scholarship, Mr. Roberts. Well, I don't 
know anything about this boy's studies, but I've had a good 
insight into his character. 'I'he scholarship goes to the boy 
who had nerve enough to come in and say, *' Mr, Umpire, 
1 didn't catch that ball." What's his name? 

Mr. Roberts. King. ''Square" King, they call him. 
He is one of the boys I mentioned. He and Collins were 
an exact tie in their studies. 

Mr. Harrison. He's played baseball square. He'll 
play the game of life square. I'm going to tell them all. 
\Louder tone.) Mr. King, "Square" King, you are the 
winner of the Harrison scholarship. You can go to any 
University in the United States at my expense. 

King. Me? {^He is overcome.) Oh, thank you, sir. 
{Aside to Ramshaw.) This means a lot to me. 

All the Boys. Hurrah for Square King ! 

{Three cheers heartily given as the curtain falls.) 



curtain 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILI. SCHOOI.. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hail without scenery. The unusual com- 
'bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainm.ent is a sure success. Price, 15 cents^ 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumfokd. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
A.ct, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
•of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. Price, 15 cents. 

THE OLD MAIDS* ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. Price, 25 cents. 

BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J, H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. SceneVy, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior, A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes,* easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E, Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort, Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



LIBRARY OF CONGRESS 



The Po^ 




ssion 



014 211 938 9 f 



Expression and el 

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THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

Parkway Building Philadelphia 



